Cine tentacular: poética de lo profundo y la imagen del Octópodo

Autores/as

DOI:

https://doi.org/10.15448/1980-3729.2019.3.32730

Palabras clave:

Octópodos. Cine. Posthumanism.

Resumen

Este documento examina una serie de trabajos diferentes en los que los pulpos y los cefalópodos en general pueden considerarse criaturas particularmente “cinemáticas”. Desde representaciones populares, en películas como Tentacles (1977), hasta documentales, como Amours de la Pieuvre (1965), o hasta películas experimentales, como Mon Homme (Poulpe) (2016), el objetivo de este camino será aclarar, de una manera “Por qué la animalidad es una de las rutas de acceso privilegiadas al cine, según André Bazin y Raymond Bellour.

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Biografía del autor/a

Erick Felinto, Universidade do Estado do Rio de Janeiro, Rio de Janeiro (RJ)

Pesquisador do CNPq e professor do Programa de Pós Graduação em Comunicação da Universidade do Estado do Rio de Janeiro − UERJ. Pós-Doutorado em Teorias da Mídia Alemã, pela Universität der Kunste Berlin, e Doutorado em Letras pela Universidade do Estado do Rio de Janeiro − UERJ.

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Publicado

2019-12-27

Cómo citar

Felinto, E. (2019). Cine tentacular: poética de lo profundo y la imagen del Octópodo. Revista FAMECOS, 26(3), e32730. https://doi.org/10.15448/1980-3729.2019.3.32730

Número

Sección

Cinema